Hmm; I’m just the opposite. Even on my small-holed Olwell, the E hole is pretty big, and half-holing it isn’t difficult for me. OTOH, I’ve never been able to half-hole G#, although on most of my flutes, it’s in-tune, if weak, with cross-fingering. I suppose having a large-holed flute would make a great difference in being able to half-hole a G#.
Cat is a cutie-pie!
heh heh heh
I owned the flute Harry played (the Cotter Eb) on his debut and sophmore records. I bought it from someone who bought it off Harry. Your man sent it to me in a small box. The box was pierced, and the flute case and middle seciton was destroyed in shipping. I sent it to Eamonn, 1 year later I got a new mid section and foot (6 keys). So, all that was left of harry’s former flute was the headjoint. Recenlty Eamonn, sent me a new head joint.
I’ve spent a lot of time w/ Eamonn’s flute. For me it didn’t play right outa the box. DON’T MISINTERPRET! My embochure was NOt acccustomed to the flute, as I play an Olwell D and his flutes play differently. The new headjoint is different than the one Harry used. Perhaps more evolved (his own words) …either way he’s cut many more since that Eb he made for Harry years back. In addition, the blocks are now low, i.e. even w/ the body for peopl who play w/piper finger positioning.
From my perspective, a Cotter flute is not a beginner flute in the regards that is not going to roll out the red carpet as soon as the head joint hits the beginner’s gob. Nor will any top quality flute for that matter…truely. A well made instrument is for someone who wants to spend the time to learn it! That takes patience, perceverance, and persistence.
there are those lucky enough with $$ to blow (no pun) and get into the “name brands” etc. It’s “all good” as they say … learning about it, getting comfortable with the jargon, buying selling if you can afford to blablabal.
However, there is and will never be IMHO a substitue for hard work, continuous studying the mountains of [/i]source material _(music from the historical players), and years on the instrument. Buying the brands and getting caught up in reveiws and the internet etc. is no substitue for the sweat. Sorry to get on a soap box, but I believe it never hurts to reiterate this when discussing makers and the “what should I get?” question.
Always bear in mind that the historical players got what was available and made earth and soul moving music. Mckenna, Tubridy, Jim McGowan, Tansey… they coulda played on a Sweetone and sounded amazing.
btw- Eamonn did tell me that Peadar O’Loughlin is playing his Eb. I’d say that name is pretty important in Irish music history.
_
I owned the flute Harry played (the Cotter Eb) on his debut and sophmore records. I bought it from someone who bought it off Harry. Your man sent it to me in a small box. The box was pierced, and the flute case and middle seciton was destroyed in shipping. I sent it to Eamonn, 1 year later I got a new mid section and foot (6 keys). So, all that was left of harry’s former flute was the headjoint. Recenlty Eamonn, sent me a new head joint.
I’ve spent a lot of time w/ Eamonn’s flute. For me it didn’t play right outa the box. DON’T MISINTERPRET! My embochure was NOt acccustomed to the flute, as I play an Olwell D and his flutes play differently. The new headjoint is different than the one Harry used. Perhaps more evolved (his own words) …either way he’s cut many more since that Eb he made for Harry years back.
From my perspective, a Cotter flute is not a beginner flute in the regards that is not going to roll out the red carpet as soon as the head joint hits the beginner’s gob. Nor will any top quality flute for that matter…truely. A well made instrument is for someone who wants to spend the time to learn it! That takes patience, perceverance, and persistence.
there are those lucky enough with $$ to blow (no pun) and get into the “name brands” etc. It’s “all good” as they say … learning about it, getting comfortable with the jargon, buying selling if you can afford to blablabal.
However, there is and will never be IMHO a substitue for hard work, continuous studying the mountains of [/i]source material _(music from the historical players), and years on the instrument. Buying the brands and getting caught up in reveiws and the internet etc. is no substitue for the sweat. Sorry to get on a soap box, but I believe it never hurts to reiterate this when discussing makers and the “what should I get?” question.
Always bear in mind that the historical players got what was available and made earth and soul moving music. Mckenna, Tubridy, Jim McGowan, Tansey… they coulda played on a Sweetone and sounded amazing.
btw- Eamonn did tell me that Peadar O’Loughlin is playing his Eb. I’d say that name is pretty important in Irish music history.
_
I don’t know why this did not occur to me to mention sooner, but an Eb is the ideal flute to play alongside Highland pipes. Eb gives you Bb mixolydian and a bottom seventh - the range of GHB. Phil Smillie of the Tannahill Weavers plays one with a bunch of keys on it. I speculate that he got it keyed for the same reason the rest of us do - for more flexibility and the ability to play funky tunes.